Gucci: The European Dream


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I’m a Gucci kid as much as I am a Ukrainian. Deeply and at heart. 

My fashion sense was raised in the boutiques at Passeo de Gracia, and my curious hands had ran over every silk button-down, every organza skirt, every cocktail dress and horse-bit loafer, collection after collection. Summer after sun-kissed, European summer, I cemented the principle that Gucci was the well-tailored, European dream. The bottle-green watch around my wrist now serves as a Gucci logo-printed anchor to my home while I’m here, in the land of people chanting “USA! USA!” 

Consecutively, It is satan-o’clock (six am) on a Thursday (last Thursday,) and I struggle to pull pullover over pullover without falling over (sorry,) because every six in the morning, I suffer mild hypothermia. My cure is currently brewing, and I half-heartedly hurry to dress. While nursing myself to life via intake of coffee, I scroll through Instagram (as one does when they barely care about being tardy.) Amongst trivial #tbt’s and aesthetic photography is a pink-framed, Pompeian, silver-gilded picture which snares my attention. The woman in the picture is dressed to the nines (no, I don’t live in 1930’s New York,) in a rose, crackled bomber jacket, embellished and embroidered, trimmed at the waist and wrists with yellow. She downs a metallic, pleated midi skirt, strapped, red, patent pumps and comically oversized frames. Oh, and there is a parrot sitting on her finger. I scroll to see explanation for this divine, seemingly out-of-the-blue chic. It is an “exclusive first look at Alessandro Michele’s Gucci Pre-Fall 16.” 

Throughout the day, the first picture is followed by a second, and a third and a few more, all as aesthetically pleasing to me as my own mood boards.

In my bout of obsession with the hybrid beauty that is the “hairy half-loafer,” which bumped Gucci to my pedestal of Brand of the Year (I should start my own awards show, see who shows up,) I completely neglected looking at the rest of the collections. To be fair, I wasn’t doing much looking at all, as I’ve been busy with the circadian obligations of eight-hours-of-classes and after-hours work. I didn’t mean to neglect fashion, honestly, it was just complicated to function for a while.

But back to Gucci, because no one reading this is my therapist. 

As I busied my weekend with crawling back into the know, I realized I was quite perfectly shouldering in with everyone marveling the Pre-Fall 16.

After going over Fall 2015 RTW, Spring 2016 RTW, Resort 2016 and the aforementioned Pre-Fall 2016, a clear colour pattern strung itself between every collection by Alessandro Michele for Gucci. And applause to the man. 

I have previously written about Slimane maintaining Saint Laurent’s heritage through concept of scandal, and underlined that every creative director coming into an already existing brand has maintained something, while changing another. Raf Simons maintained a lady in a “new look” with Dior, Sarah Burton stuck to art-as-clothes rather than ready-to-wear in Alexander McQueen. Alessandro Michelle, hence, maintained the tailoring ingenuity, the colour scheme, the horse bit and bamboo detailing. 

The notable piece of his debut collection (Fall 2015 RTW) in Gucci became the head statement piece on the streets of… everywhere; the also aforementioned furred slipper. The spectrum of colour was dull-florals, deep reds, auburns and bottle-greens (the Gucci palette, if you will.) 

Spring 2016 RTW Menswear was fascinating in that many pieces were taken from a woman’s wardrobe. Think leather ankle boots, tie dye, belted shorts, a tucked in, printed button down. Are you not imagining me strolling through the fields at Glastonbury? (I am, and you have shit imagination.) The concept of having vice-versa outfit options (boyfriend jeans and oversized sweaters for girls, “girlfriend” shorts and lacy tops for boys,) was so innocently placed into the collection, I admired every outfit. 

Spring 2016 RTW Womenswear was fascinating in the ease with which the ruffle of fabric whispered “spring.” Notable was the variety of garment, pattern, colour, print and material. More so outstanding was the “illusion” of clothes, where detail was sketched onto shimmering cloth in a comic style. 

Resort 2016 was reminiscent of a disco-diner (everything metallic, sparkling, gold shoes,) an after-party at Lake Como (lace, strappy shoes, gowns, midi and mini dresses alike,) and a renaissance meets 70’s conglomerate of the beautiful and the damned (not literally damned, but I couldn’t help myself.)

Finally, the Pre-Fall 2016, surprisingly fuels my previously non-existent Christmas mood. Why, you may or probably do not ask? Because the Pre-Fall 2016 is how my beloved grandma and I dress to festive family dinners. My grandmother downs vintage everything-I-want, and looks like she is friends with both, the Queen of England and Iris Apfel. I dress to look unacceptably under-dressed (not in the no-clothes way, in the I-don’t-dress-for-occasions way.) But there will always be an unmissable Christmas vibe, and now I will be going for gold skirts, printed sweaters and loafers. Again, the collection is dichotomous yet in unison, which must attribute to Michelle’s talent. 

And once a Gucci kid, always a Gucci kid, so I am all the more happy to see the brand tailored to be ever the renewed dream.


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(Looks from Alessandro Michelle’s debut collection, Fall 2015 RTW.)

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(Looks from Spring 2016 Menswear RTW.)

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(Looks from Spring 2016 Womenswear RTW.)

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(Looks from Resort 2016.)

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(Looks from Pre-Fall 2016.)

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The furred loafers are on my Christmas wishlist, if anyone’s wondering what to get me. 


– Alice Pylypenko



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